What a nice surprise, this record from computer music composer. Three works, three highlights. First up is “Cascando” (1977), a realization of Samuel Beckett’s odd “Radio Play”, where a Narrator (the natural voice of John Nesci), a Voice (computer synthesis based on a reading by Steven Gilborn), and a Music (computer synthesis based on the Voice) are disassembling the story being told through meta-narration. A bit long but artistically successful. Then comes “Fades, Dissolves, Fizzles” (1995), a solo computer piece made of very delicate gestures, twinkles and fizzles indeed. Finally, “Violin Variations” (2009) for violin and computer, four short movements of elegant exchanges between actual and virtual. I am enthralled.[Below: An excerpt from “Fades, Dissolves, Fizzles” found on New World’s website.]

A beautiful record offering a program of solo piano works by David Mahler performed by Nurit Tilles. Mahler’s music draws inspiration from American minimalism, but it doesn’t stick to it. The title track of this collection is strongly reminiscent of Philip Glass, but the suite “Day Creek Piano Works and The Teams Are Waiting in the Fields” displays a Tom Johnson-like fanciful formalism. Most importantly, this record holds several beautiful moments where inspiration transcends the idea, the concept, the framework. Mahler’s music is simply but never simplistic, and Tilles’ interpretations are nuanced without getting labored (which would have killed said simplicity).

For Volume 10, Merzbow goes into bulldozer mode: one piece in three parts designed to annihilate your senses. Two options: either stay at the level of the wall of sound that crushes you or infiltrate that wall to see the subtleties hiding behind it. Now, some of Merzbow’s records make that second option easier (and more rewarding). Not this one.